Peewee ean Australian Music Examinations Board ‘The Universities of Melbourne, Adelaide and Western Australia, The Minister for Education in New South Wales, ‘The Minister for Education and Skills in Tasmania, through the University of Tasmania and the Minister for Education and Minister for Tourism and Major Events in Queensland Theory - Grade 5 9.30 AM to 12.30 PM Wednesday 23rd August 2017 ‘Time allowed: ‘Three hours Write your candidate number in the space at the top of this paper. Write your answers neatly and clearly on this paper and return it to the Supervisor. NST Ta KEYS AND SCALES Bm [A] 5 Write the scale of G? major. + Do not write a key signature. Use accidentals. + Use minims. + Write one octave ascending and then one octave descending + Mark each tone with a slur + Complete the scale with a double barline. Page 1 / Theory Grade 5 norman Sg name Please Turn Over ©B 2 Name these scales. a (ii) c 3 () Write the key signature of C? major. 7 (ii) Write the key signature of D¥ minor 1 (ii) Name the minor key that has this key signature 1 Page 2 / Theory Grade 5 ‘seaminaon ae AMER ean AMES TeeA Name these intervals by number and quality. @ ‘Write these intervals as directed. @ (i) (i) < diminished 3rd minor 6th below above c (i) Write the inversion of this interval and then name the inversion. Original interval Inversion (i) Place a tick (7) in the box that correctly identifies this interval: fo Page 3 / Theory Grade S major 6th augmented 6th minor 7th diminished 8ve CE tls INTERVALS Bree Cea 2ES el MODULATION Bree This melody modulates from the tonic key twice. Name + the original key. + the key of each modulation. + the relationship of each modulation to the original key. Tonic key First modulation Relationship to the original key Second modulation Relationship to the original key Page 4 / Theory Grade 5 “hsenminaon ec ANG cn AME Fe OB,Harmonise the following melody in four-part vocal style. Make use of unaccented passing and auxiliary notes. aN Page 5 / Theory Grade S estion 4 HARMONY Bors 20 seB 12 In pianoforte style, harmonise the notes above each of the four brackets with a cadence and an approach chord. The passage includes modulation to related keys. Show one example of each of the four principal cadences. Page 6 / Theory Grade SCee CREATIVE BRE mrs Answer only ONE part of this question. EITHER ‘Write a melody in G major to the following stanza of poetry. ‘Write the words clearly under the notes. + Use hyphens for words of more than one syllable. + Mark the phrasing. + Modulation is optional. With cheeks that paled the rosy morn She bounded oer the heather, And romped with us among the corn When we were kids together. [O’Brien: Laughing Mary] OR Continue the given opening to make a balanced eight-bar melody. + Mark the phrasing. + Modulation is optional. Page 7 / Theory Grade 5 “hsenminaon ec ANG cn AME Fe OB,CS es INSTRUMENTS Bes Study this orchestral excerpt Stave 1 Stave 2 Stave 3 Stave 4 a Which woodwind instruments are indicated by. Stave 2 Stave 3 B 5 () Name one woodwind instrument that has a speaker key. 1 (i) Whatis the name given to the lowest register of the clarinet? 4 (iii) Does the bassoon have a crook? Yes or No? 1 (iv) Does the flute overblow at the octave? Yes or No? LA} L_]} (v) Does the oboe have a conical bore? Yes or No? 1 Page 8 / Theory Grade 5() Using an appropriate clef, write the written range of the clarinet in A. (ii) Using an appropriate clef, write the range of the oboe (iii) This melody is written for the bassoon. Rewrite it in the treble clef Page 9 / Theory Grade S‘This page has been left blank to allow greater ease of working Page 10 / Theory Grade 5 "emi A tng aae FORM Boer Study the following music, which is the second movement of a piano sonata by Beethoven. Discuss the character of the Minuet and then describe how the Trio contrasts to the Minuet. Page 11 / Theory Grade 5 “hsenminaon ec ANG cn AME Fe OB,Minuet Allegretto La prima parte senza repetizione [Fine] Page 12 / Theory Grade 5Trio 57 —~ 7 Alllegretto D.C, Page 13 / Theory Grade 5 Please ‘Turn Over &>B 6 Study this example of a theme and two variations by Mozart. Describe how the theme has been treated in each of the variations. THEME Page 14 /"Theory Grade 5 ‘seaminaon ae AMER ean AMES Tee7 25. VARIATION I ma 30 y OF 2 e 36 e 4l <— o Fy 6 o | | | | | | Page 15 / Theory Grade 550, VARIATION IL f Page 16 / Theory Grade 5(In terms of function within large-scale works, discuss the differences between recitative [3 and aria (i) Name three forms commonly used for arias. 3 (ii) Explain recitativo stromentato. 2 Page 17 / Theory Grade 5 eminem ceomeetanpeal O (Copyright 2017)